Альбомы

• Iggy & the Stooges Raw Power
• Led Zeppelin Houses of the Holy
• Roxy Music Stranded
• Tom Waits Closing Time
• David Bowie Aladdin Sane
• Brian Eno Here Come the Warm Jets
• Leonard Cohen Live Songs
• John Lennon Mind Games
• T. Rex Tanx
• Pink Floyd The Dark Side of the Moon
• Lou Reed Berlin
• Bryan Ferry These Foolish Things
• Queen Queen
• Elton John Don't Shoot Me I'm Only the Piano Player
• Elton John Goodbye Yellow Brick Road
• Can Future Days
• Paul McCartney & Wings Red Rose Speedway
• George Harrison Living in the Material World
• The Byrds The Byrds
• Bob Dylan Pat Garrett & Billy the Kid
• The Who Quadrophenia
• Michael Jackson Music and Me
• Bob Marley & the Wailers African Herbsman

Cтихи и песни:

• Стихи и песни Владимира Высоцкого. 1973 год.
• Стихи Иосифа Бродского 1973 года

Фильмы

• Семнадцать мгновений весны

• Иван Васильевич меняет профессию

• В бой идут одни старики 

• Калина красная

• Плохой Хороший Человек 

• Амаркорд 

• Enter the Dragon

• Совсем пропащий

• Моска-Кассиопея 

• Земля Санникова

• Эта Веселая Планета

• Три орешка для Золушки

Книги

• Харуки Мураками Пинбол-1973

Автомобили

• Volkswagen Passat B1

• Mitsubishi Lancer 1973

Спорт

• Сезон 1973 Формулы-1

• Чемпионат СССР по хоккею с шайбой 1972-73 гг

• Чемпионат СССР по хоккею с шайбой 1973-74 гг

• 41-й чемпионат СССР по шахматам

Транспорт

• Пассажирский транспорт Москвы - 1973

• Схема Московского метро в 1973

Люди, родившиеся в 1973 году

• Анастасия Заворотнюк
• Сергей Шнуров
• Андрей Данилко
• Юрий Шатунов
• Наташа Королева
• Николай Цискаридзе

Умерли в 1973-м

• Пабло Пикассо
• Брюс Ли
• Джон Толкин
• Лидия Русланова
• Семен Буденный

Artist: Bob Dylan
Album: Pat Garrett & Billy the Kid [Soundtrack]
Release Date: Jul 13, 1973
Recording Date:
Label: Columbia
Time:

Reviewby Bruce Eder
This album was unusual on several counts. For starters, 
it was a soundtrack (for Sam Peckinpah's movie of the 
same title), a first venture of its kind for Bob Dylan. 
For another, it was Dylan's first new LP in three years 
— he hadn't been heard from in any form other than the 
single "George Jackson," his appearance at the 
Bangladesh benefit concert in 1971, in all of that time. 
Finally, it came out at an odd moment of juxtaposition 
in pop culture history, appearing in July 1973 on the 
same date as the release of Paul McCartney's own first 
prominent venture into film music, on the Live and Let 
Die soundtrack (the Beatles bassist had previously 
scored The Family Way, a British project overlooked amid 
the frenzy of the Beatles' success). Interestingly, each 
effort reunited the artist with a significant 
musician/collaborator from his respective past: 
McCartney with producer George Martin and Dylan with 
guitarist Bruce Langhorne, who'd played with him on his 
early albums up to Bringing It All Back Home, before 
being supplanted by Mike Bloomfield, et al. But that was 
where the similarities between the two projects ended — 
apart from the title song, Live and Let Die was Martin's 
project rather than McCartney's, whereas Dylan was all 
over Pat Garrett & Billy the Kid as a composer, 
musician, etc. Additionally, whereas McCartney's work 
was a piece of pure pop-oriented rock in connection with 
a crowd-pleasing action-fantasy film, Dylan's work 
comprised an entire LP, and the resulting album was a 
beautifully simple, sometimes rough-at-the-edges and 
sometimes gently refined piece of country- and 
folk-influenced rock, devised to underscore a very 
serious historical film by one of the movies' great 
directorial stylists. It was also as strong as any of 
his recent albums, featuring not just Langhorne but also 
such luminaries as Booker T. Jones, Roger McGuinn, and 
Byron Berline. "Knockin' on Heaven's Door" was the 
obvious hit off the album, and helped drive the sales, 
but "Billy 1," "Billy 4," and "Billy 7" were good songs, 
too — had any of them shown up on bootlegs, they'd have 
kept the Dylan semiologists and hagiographers busy for 
years working over them. The instrumentals surrounding 
them were also worth hearing as manifestations of 
Dylan's music-making; "Bunkhouse Theme" was downright 
gorgeous. It was the first time since New Morning, in 
1970, that Dylan had released more than five minutes of 
new music at once, and it was a gift to fans as well as 
to Peckinpah — little did anyone realize at the time 
that it heralded a period of new recording and a 
national tour (with the Band), along with a brief label 
switch, and Dylan's greatest period of sustained musical 
visibility since 1966. This record also proved that 
Dylan could shoehorn his music within the requirements 
of a movie score without compromising its content or 
quality, something that only the Beatles, unique among 
rock artists, had really managed to do up to that time, 
and that was in their own movie, A Hard Day's Night. 
"Knockin' on Heaven's Door" may have been the biggest 
hit to come out of a Western in at least 21 years, since 
Dimitri Tiomkin and Ned Washington had given "High Noon" 
to Tex Ritter to sing in Fred Zinnemann's High Noon in 
1952 (and Katy Jurado was in both movies), and he'd also 
outdone Ritter on two counts, writing the music — a full 
score, to boot — and getting a cameo appearance in the 
film. The album was later kind of overlooked and 
neglected in the wake of the tour that followed and the 
imposing musical attributes of, say, Blood on the Tracks 
and Desire, but heard on its own terms it holds up 
30-plus years later. 

© 2007 All Media Guide, LLC.